LAURA MACDONALD - Two's Company...The Art of the Duet

This is the first interview in what has turned out to be our very own saxophone trio, a series of three interviews with some of the UKs finest exponents of their respective instruments. With chivalry dictating that it should be ladies first, we kick things off with altoist, Laura Macdonald.Laura has been a mainstay of the Scottish jazz scene for a number of years. As alto saxophonist with the Scottish National Jazz Orchestra, she also released a couple of highly regarded albums on Spartacus Records. Her self-titled debut showcased her formidable playing in the company of drummer Jeff ‘Tain’ Watts, bassist James Genus and David Budway on piano recorded in New York; and was followed up with the superb Awakeningthat revealed Macdonald to be a composer to watch out for.If the intervening years appear to have seen the saxophonist disappear of the national and international radar, she has been continuing to work at her music in her native Scotland, juggling her career with bringing up her young family. With the release ofDuets again with a New York based pianist, this time David Berkman, Laura has once again demonstrated that if to many she appears to be keeping a low profile there is a sharp musical mind at work and that trait is immediately apparent in the new recording.

“David and I met through Edinburgh Jazz Festival a lot of years ago!Maybe ten or twelve.We have played in various different formats and in each other’s groups many times over the years,” explains Laura. “I was tempted into the duo format after an impromptu gig with David a few years back, again at Edinburgh Jazz Festival.We literally had five minutes before the gig to sort a set list and we really hit it off.There is a real magic that can happen in duo form.A lot of trust between the two musicians that can result in amazing musical moments, and I’m happy to say that David and I have a lot of those moments!”The empathy and rapport between the two musicians is just one of the joys to savour when listening to Duets, the other being in the choice of repertoire which is predominantly drawn from the Great American songbook. With such a large library to choose from I ask just how they approached choosing the tunes on the album? “We threw back and forth suggestions for standards that we both liked,” says Laura “and I mean, we literally talked about hundreds of tunes and came up with a selection of quite ‘classic’ standards that have had an impact on both our lives as musicians.Many of the standards we chose were relevant to me as a player when I was young and learning all the classics at gigs.These moments and memories made our tour more special this year as I revisited these tunes.”This latest recording is Macdonald’s fourth as leader, and all have been different in both the content of the material played and the context. Has this been a conscious decision, I ask Laura, or more a case of taking interesting opportunities as they arise?“I think that my first record Laura was very influenced by Tommy Smith who I was married to at that time.I was very reliant on his experience as a recording artist and took 100% guidance on the whole recording.My next record Awakenings was very much my project.It was an important stage for me as a composer and it was a turning point in my personal and musical life. The Open Bookalbum recorded with Martina Almgren was a progression of the work we had been doing together and was recorded in Sweden whilst we were in the middle of a tour.I love that record.My Duets record has been the most personal recording for me.It is definitely the realisation of something I’ve wanted to record for a long time.”

The Duets album does strike a very personal note, and reveals a mature musical personality that only comes from a making the mastery of one’s instrument a lifetimes work. Having said that though, Macdonald was a relatively late starter as a saxophonist. Laura takes up the story, “I had played the violin at school since I was 7, and reluctantly went to a jazz gig when I was 15.I heard the saxophone that day and fell in love.There was no question I was going to play it.When I got my saxophone I took to it immediately.Within 10 weeks I was playing in Strathclyde Youth Jazz Orchestra and performing at Montreux Jazz Festival.Needless to say my violin took place in the cupboard never to make a reappearance...!”Following on from this Laura spent some time in the States studying at Berklee College in Boston. “My experience at Berklee was one of the most positive times of my life,” she says “ A whole mix of cultures and musical styles, and a massive organisation there to back up your development.I had a lot of positive experiences at Berklee.My teacher was George Garzone and he was just amazing.Also, Hal Crook.... he was so life changing to work with.Amazing memories and tools to call upon for the rest of my musical life.” And when touching on the subject of influences, Laura immediately rattles off “Cannonball, Coltrane, Keith Jarrett, Maria Schneider, Mahler, Elgar, Charlie Parker, Claus Ogerman, Michael Brecker... too many....” she laughs.Accompanying her to the US, Laura took her trademark black lacquered Selmer alto (pictured above with Laura), but recent indications are that the horn may have been retired. So for the gear-heads amongst us I ask Laura what her current set up is? “I am playing a P. Mauriat Matt Lacquered 67r with a Meyer 7m mouthpiece, a leather B&G ligature and Rico Jazz Select reeds.”So with the release of her new album and a recent appearance at the 2014 London Jazz Festival, what does the future have in store? “Endless plans for the future, is the optimistic reply “More touring with David Berkman in 2015.A project involving strings....”With a smile she says “I’ll maybe keep these ideas to myself for now.....Stay posted!”